That makes a lot of sense, as I thought S &W might be the maker, but thought that was too obvious. Since Carder may have been responsible for the design that would make a lot of sense though.

I hadn't really aprreciated Carder's contribution to glass design, but recent findings (including GSM contributions) have switched me on to this designer. From what I have seen, his contributions are as relevant as those of Keith Murray and certainly equivalent to Dresser when it comes to the prolification of modern design/art.

This reminds me of the recent (and brilliant) thread on UK studio glass. Let's just say that the heritage of UK Studio Glass goes back further than most would realise i.e. pre Layton, Harris or Herman (see http://www.glassmessages.com/index.php/topic,6207.0.html.) Why didn't anyone mention Monart, Vasart or Ysart. A recent ATG booklet showed several examples of Scottish Art Glass that looked very much like Studio Glass and was very similar to pieces produced by Mdina.

David can you send me a scan of that ATG article please. Monart and Vasart do not qualify as Studio Art Glass, it is factory glass. However, if you check the chronology Paul Ysart is included as he set up his own Studio with no more than one or two assistants at a time.

Frank, the article in question is in the ATG summer guide booklet and not particularly easy to scan. I do however have two copies, so if you want me to post you a duplicate copy PM with your address.

I understand what you are saying about Monart and Vasart, but these were very small factories. At what point does a studio become a factory, it’s an interesting dilemma? I'm sure that there are studio artists working in facilities that are large, and employ more people than Monart ever did, yet they will no doubt still be regarded as studio practitioners.

The point I was really making is that regardless of whether Monart or Vasart were factory makers, the work produced by them was aesthetically studio glass. I visit many design/art shows each year and there are many studio practitioners who produce work that looks like Monart or Mdina (or strongly influenced by them), so although Monart may be considered to be a factory maker, their influence on studio glass is particularly relevant.